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The ‹Other› India in Literature and Film Mohan Dās in Uday Prakaś’S Story and in Mazhar Kamran’S Film

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The ‹Other› India in Literature and Film Mohan Dās in Uday Prakaś’S Story and in Mazhar Kamran’S Film Kervan – Rivista Internazionale di studii afroasiatici n. 15 – gennaio 2012 THE ‹OTHER› INDIA IN LITERATURE AND FILM MOHAN DĀS IN UDAY PRAKAŚ’S STORY AND IN MAZHAR KAMRAN’S FILM di Alessandra Consolaro1 Mohandas is a 2009 Hindi drama film directed by Mazhar Kamran, based on the story Mohan Dās by noted Hindi writer Uday Prakaś, who also wrote screenplay and dialogue for the film. Mazhar Kamran is at his debut film as director. The film stars Sonali Kulkarni, Nakul Vaid, Sushant Singh, Uttam Halder, Sarbani Mukherjee, and Aditya Srivastava, and is produced by Abha Sonakia. The story is hard-hitting, and it has a willingness to engage; the film dares to raise un- comfortable questions that feel-good Bollywood generally prefers to ignore, and can be enjoyable for people who appreciate the parallel cinema of the 1980s. In this paper I introduce Mohan Dās/Mohandas as a counter-narrative on Dalitism, a multi-layered story of resistance and a critique of representational democracy. It is a story of marginality, featuring a young Dalit resisting against the oppression of the hegemonic society. Dalit oppression has been going on for ages but Mohan Dās’s story is the product of a distinct modernity (or post-modernity?). I also draw a comparison between the literary and the cinematic version of the story and try to highlight the specificity of the movie, also in the context of recent Hindi cinematic production. Mohandas is a 2009 Hindi drama film directed by Mazhar Kamran, based on the story Mohan Dās by noted Hindi writer Uday Prakaś, who also wrote screenplay and dialogue for the film. Mazhar Kamran is at his debut film as director. The film stars Sonali Kulkarni, Nakul Vaid, Sushant Singh, Uttam Halder, Sarbani Mukherjee, and Aditya Srivastava, and is produced by Abha Sonakia. The story is hard-hitting, and it has a willingness to engage; the film dares to raise uncomfortable questions that feel-good Bollywood generally prefers to ignore, and can be enjoyable for people who appreciate the parallel cinema of the 1980s. In this paper I introduce Mohan Dās/Mohandas as a counter-narrative on Dalitism, a multi-layered story of resistance and a critique of representational democracy. It is a story of marginality, featuring a young Dalit resisting against the oppression of the hegemonic society. Dalit oppression has been going on for ages but Mohan Dās’s story is the product of a distinct modernity (or post-modernity?). I will draw a comparison between the literary and the cinematic version of the story and try to highlight the specificity of the movie, also in the context of recent Hindi cinematic production. 1 A preliminary version of this paper was presented at the II Biennial Conference of the Asociación Española de Estudios Interdisciplinarios sobre India: “Otras” Indias: La riqueza de la multiplicidad india, November 23-26, 2011, Universidad de La Laguna, Tenerife, Canarias, España. I use diacritical marks only in words referred to the short story, leaving the names belonging to the film as they commonly appear in film literature, and other names in their common form. 65 A. Consolaro - The 'other' India in literature and film: Mohan Dās in Uday Prakaś’s story and in Mazhar Kamran’s film 1. Mohan Dās, the story: a counter-narrative of Dalitism2 The long short story, or short novel, Mohan Dās was published in Haṃs in the Premcand anniversary issue, August 2005. It is a narrative of marginality, featuring a young Dalit resisting against the oppression of the hegemonic society, based on a real life story–that of Shobhalal of Gunwari in Madhya Pradesh.3 Mohan Dās, a Dalit young man, is a topper in studies and is overjoyed when he is selected for a job in Oriental Coal Mines. But he is kept waiting and waiting to actually get the job. Long afterwards, when he has given up and somehow reconciled to it, he learns that someone else has assumed his name and has already taken his job. When he rushes to protest, he is beaten up and thrown out. The protagonist’s identity, in fact, is stolen by an unscrupulous Brahmin character through a deep-rooted conspiracy involving the whole community, and this launches a heroic struggle for resistance. Uday Prakaś constructs a sort of postcolonial version of Gandhi, as the Dalit hero shows a clear resemblance with the Mahatma. This is a choice going against the prevalent discourse in Dalit policy, based on Ambedkar and his emancipating Dalit iconography, especially if we consider the notorious contraposition between Gandhi and Ambedkar. In such a counter-narrative the meta-discourse of the Dalit unity is challenged by the insurrection of little selves. This “dalit avatār” of Gandhi finds himself again and again in a helpless condition, but not even a single Gandhian activist or organisation is made available in the story to help him. Even while expressing a deep sympathy for Gandhian thought, this makes no allowance for any sympathetic argument about whatever is left of the Gandhian project in the contemporary world. The text resists also the mainstream Dalit discourse.4 In the prevalent overwhelming presence of the national memory of Ambedkar, Uday Prakaś chooses not to introduce him as Mohan Dās’s co-fighter and/or helper, thus refusing to adhere to the discourse of the politicised Dalit masses. Yet, the very pre- sence of a protagonist who is an educated Dalit fighting for his reserved seat in government jobs5 and at the same time belonging to a little community of untouchables and professing a kabīrpanthī existence reminds the reader of Ambedkar. Thus, Ambedkar’s invisibility is a key feature in order to understand the text. Mohan Dās’s story does not limit itself to having the reader to face the devastated existence of a Dalit, but it is set against an extremely gloomy scenario, representing the collapse of institutional egalitarianism and the resultant failure of the whole civilisation. More concretely, it offers a general critique of representational democracy, exposing the limits of Ambedkar’s modernising project. Dalit oppression has been going on for ages, but Mohan Dās’s story is the product of a distinct mo- dernity (or post-modernity?). In fact, the story portrays also a political and social change affecting contemporary Hindu society. In a rural and semi-urban setting a Brahmin usurps a constitutionally mediated scheduled caste identity, reserved for ex-untouchables, and while doing so neither he nor his all family show any hesitation for fear of ritualistic pollution. How can such a change take place in the middle of the Hindutva discourse?6 A possible response is that the secular-bureaucratic structure of this constitutional identity is probably sufficient to guarantee them safety. The relation between this 2 This section is an abridged version of the paper “Resistance in today’s Hindi world: Mohan Dās by Uday Prakāś”, presented at the 21st European Conference on Modern South Asian Studies, 26-29.07.2010, Bonn. A longer version is “Resistance in the postcolonial Hindi literary field: Mohan Dās by Uday Prakāś” in Orientalia Suecana LX (2011): 9-19. 3 http://greenchannel.blogspot.com/search?q=soni 4 For some bibliographical references about this topic, see: Christophe Jaffrelot, Dr Ambedkar and Untouchability: Analysing and Fighting Caste, India Permanent Black, New Delhi 2005; idem, India's silent revolution: the rise of the lower castes in North India, ed. by C. Hurst, London 2003; Badri Narayan, Women heroes and Dalit assertion in north India: culture, identity and politics, SAGE Publications, Thousand Oaks, Calif. 2006; Ramnarayan S. Rawat, “Making Claims for Power: A New Agenda in Dalit Politics of Uttar Pradesh, 1946-48,” in Modern Asian Studies, Vol. 37, No. 3 (September 2003); Ramnarayan S. Rawat, “Partition Politics and Achhut Identity: A Study of Scheduled Castes Federation and Dalit politics in U.P. 1946-1948,” in The Partitions of Memory, ed. by Suvir Kaul, Permanent Black, Delhi 2001. An interesting Dalit publishing house is Navayana, see: <http://navayana.org>. About anticaste social vision see: Gail Omvedt, Seeking Begumpura. The Social Vision Of Anticaste Intellectuals, Navayana Publishing, New Delhi 2008. 5 On reservation policies in India see: Aimee China and Nishith Prakash,"The redistributive effects of political reservation for minorities: Evidence from India" in Journal of Development Economics, Volume 96, Issue 2, November 2011, pp. 265–277. 6 On the ambiguous relation between Hindutva and Dalits see: Badri Narayan, Fascinating Hindutva: Saffron Politics and Dalit Mobilisation, Sage, Delhi 2009; Dr. Anand Teltumbde, ed., Hindutva and Dalits: Perspectives for Understanding Communal Praxis, Samya, Kolkata 2005. 66 Kervan – Rivista Internazionale di studii afroasiatici n. 15 – gennaio 2012 character and other upper caste characters is grounded on a shared middle class identity, giving the fake Mohan Dās, who in any case is not outcasted and maintains his jāti/birādari links, a sort of “neo- Brahmin” status. Significantly, this is not perceived as dangerous by the upper caste characters. Mohan Dās is denied justice and he complains about that. But, at least in the literary version, his lament stresses the fact that his constitutional identity has been stolen only because his birādarī is not represented in key positions of power: nobody of his community has yet obtained any government or political high position. This literary representation of Ambedkar, therefore, represents the tragic story of a small community excluded from its rightful place in the ranks of the emerging Dalit political community because it is too weak in the number game of politics. This is not a disadvantage inflicted upon Dalits by tradition: it is the result of the violence of a hierarchical modernity.
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